Ton Koopman / The Amsterdam Baroque Orchestra & Choir

Complete Bach Cantatas Vol. 22

Price: € 14.95
Format: CD
Label: Challenge Classics
UPC: 0608917222227
Catnr: CC 72222
Release date: 31 July 2006
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Label
Challenge Classics
UPC
0608917222227
Catalogue number
CC 72222
Release date
31 July 2006
Album
Artist(s)
Composer(s)
EN
NL

About the album

Between 1999 and 2004, Koopman, a conductor, musicologist, organist, and harpsichordist, recorded the complete cantatas by Johann Sebastian Bach with the Amsterdam Baroque Orchestra and Choir, which he founded in 1979.

This twenty-second and last volume of cantata recordings contains two of Bach's latest cantatas (BWV 30 and 80), including the secular model for BWV 30 and Wilhelm Friedemann Bach's arrangement of two movements from BWV 80 dating from after 1750. Also included are the four Kyrie-Gloria masses of the late 1730s; they are very closely associated with the cantata repertoire of the 1720s. These masses are based on selected movements of cantatas dating from the period 1723-6; after an interval of ten or so years Bach reworked them, in most cases very thoroughly. Renowned Bach specialist Ton Koopman (1944) was awarded the 2006 Bach Medal by the city of Leipzig 05 Jun 2006, the final day of this year's annual Leipzig Bach Festival.

The award honors the significant contribution of the 61-year-old Dutchman to Bach performance and scholarship. Koopman performed at the festival, which is run in conjunction with the Bach-Leipzig Archive, with the Amsterdam Baroque Orchestra.

He studied organ (Simon C. Jansen), harpsichord (Gustav Leonhardt) and musicology in Amsterdam and was awarded the Prix d'Excellence for both instruments. As an organist he has performed on the most prestigious historical instruments of Europe, and as a harpsichord player and conductor of his Amsterdam Baroque Orchestra (founded 1979) & Choir (1993) he has been a regular guest at venues which include the Concertgebouw in Amsterdam, the Theatre des Champs-Elysees in Paris, the Philharmonie in Munich, the Alte Oper in Frankfurt, the Lincoln Center in New York, and leading concert halls in Vienna, London, Berlin, Brussels, Sydney, Melbourne, Madrid, Rome, Salzburg, Tokyo and Osaka.

Ton Koopman edited the complete Handel Organ Concertos for Breitkopf & Härtel and will edit a number of Buxtehude works for Carus Verlag. He is president of the International Dieterich Buxtehude Society.

He recorded a.o. for Erato, Teldec, Sony, Philips and DGG. In 2003 he created Antoine Marchand, his own sub-label of Challenge Records. Here he publishes these Complete Bach Cantatas, as well as his other recent and future recordings.
Bach’s laatste cantates
Tussen 1994 en 2004 nam dirigent Ton Koopman de enorme taak op zich om alle cantates gecomponeerd door Johann Sebastian Bach op te nemen met zijn Amsterdam Baroque Orchestra & Choir. Tijdens zijn leven schreef Bach vermoedelijk 295 cantates, waarvan er 202 bewaard zijn gebleven. Het overgrote deel van deze cantates kwam volgens biograaf Christoph Wolff, met wie Ton Koopman samenwerkte aan dit project, tot stand in de jaren 1723-25, toen Bach in Leipzig verbleef.

De volledige set bevat alle 202 cantates onderverdeeld 22 volumes. Dit is het laatste volume uit de verzameling. Hierop staan twee van Bach’s laatst gecomponeerde cantates, waaronder de seculiere versie van cantate BWV 30 en BWV 80. De oudste zoon van Johann Sebastian Bach, Wilhelm Friedemann, arrangeerde twee delen van BWV 80. Die versies zijn op dit album te horen.

Naast deze twee cantates zijn ook de vier Kyrie-Gloria missen uit de late jaren ’30 van de 18e eeuw te vinden. Deze missen worden doorgaans geassocieerd met het cantate-repertoire van de jaren ’20 uit de 18e eeuw, aangezien de latere cantates dezelfde muzikale thema’s en melodieën bevatten. Na een interval van tien jaar besloot Bach terug te keren naar deze oude missen en deze opnieuw te bewerken voor zijn cantates.

Het merendeel van cantates werd door Bach geschreven als muzikale omlijsting van de zondagse kerkdienst. De cantates sloten inhoudelijk aan bij de lezingen en de preek van die zondag of kerkelijke feestdag. Het was dus functionele gebruiksmuziek, maar van een hoog muzikaal niveau. De meeste van Bachs cantates beginnen met een uitgebreid openingskoor. Deze opening werd gevolgd door enkele aria's en recitatieven(vertellende stukken, zonder tekstherhalingen).

Bachs enorme cantateproductie delen de musicologen op in 5 cantatejaargangen. Een cantatejaargang of cantate-jaarcyclus bestaat uit een groep van bij elkaar horende cantates geschreven voor de kerkdiensten van één kerkelijk jaar.

Artist(s)

Ton Koopman was born in Zwolle in 1944. After a classical education he studied organ, harpsichord and musicology in Amsterdam and was awarded the Prix d'Excellence for both instruments. Almost from the beginning of his musical studies he was fascinated with authentic instruments and a performance style based on sound scholarship.

Even before completing his studies he laid the foundations for a career as a conductor of seventeenth- and eighteenth-century music and this fascination with the Baroque era led him in 1969, at age 25, to establish his first Baroque orchestra and, in 1979, to found The Amsterdam Baroque Orchestra followed in 1993 by the Amsterdam Baroque Choir.

Koopman's extensive and impressive activities as a soloist, accompanist and conductor have been recorded on a large number of LP's and CD's for labels like Erato, Teldec, Sony, Philips and DGG. Recently Ton Koopman has created his own record label: 'Antoine Marchand', with which he will publish his future recordings.

Over the course of a forty-year career Ton Koopman has appeared at the most important concert halls and festivals of the five continents. As an organist he has performed on the most prestigious historical instruments of Europe, and as a harpsichord player and conductor of his Amsterdam Baroque Orchestra & Choir he has been a regular guest at venues which include the Concertgebouw in Amsterdam, the Theatre des Champs-Elysées in Paris, the Philharmonie in Munich, the Alte Oper in Frankfurt, the Lincoln Center in New York, and leading concert halls in Vienna, London, Berlin, Brussels, Madrid, Rome, Salzburg, Tokyo and Osaka. Over the past ten years Ton Koopman has been engaged in 'the recording project of the '90's' (so described by 'The Guardian' in London). Between 1994 and 2004 he has conducted and recorded all the existing cantatas by Johann Sebastian Bach, a massive work for which he has been awarded with the Deutsche Schallplattenpreis "Echo Klassik 1997", the Prix Hector Berlioz, and been nominated for both the Grammy Award (USA) and the Gramophone Award (UK). In March 2000 he received an Honorary Degree from the Utrecht University for his scholarly work on the Bach Cantatas and Passions and in February 2004 he was awarded both the prestigious Silver Phonograph by the Dutch recording industry and the VSCD Classical Music Award 2004 by the Directors of Theatres and Concert Halls of Holland. Ton Koopman is also very active as a guest conductor and he has worked with many prominent orchestras in Europe, the USA and Japan including the Amsterdam Concertgebouw, the Boston Symphony, the Vienna Symphony, the Deutsches Symphonie Orchester Berlin, the Rotterdam Philharmonic, the Danish Radio Orchestra and many others. He has been for eight years principal conductor of the Radio Chamber Orchestra in Holland and he is principal guest conductor of the Lausanne Chamber Orchestra. In the coming season he will be working with the Chicago Symphony, the Tonhalle Orchestra Zurich, the Orchestre Philharmonique de Radio France, the Helsinki Radio Orchestra, the Deutsche Kammerphilharmonie, the Frankfurt Radio Orchestra, the Symphonieorchester des Bayerischen Rundfunks, and the Vienna Symphony Orchestra.

Ton Koopman publishes regularly and for a number of years he has been engaged in editing the complete Handel Organ Concerti for Breitkopf & Härtel. Pedagogy has been an important factor in Ton Koopman's life for many years and to that end he is professor of harpsichord at the Royal Conservatory in The Hague and is an Honorary Member of the Royal Academy of Music in London.

Press

Play album
Disc #1
01.
Ein Feste Burg ist unser Gott BWV 80: Chorus: “Ein feste Burg ist unser Gott”
04:56
02.
Ein Feste Burg ist unser Gott BWV 80: Aria and Chorale (Soprano, Bass): “Alles, was von Gott geboren/Mit unser Macht”
03:31
03.
Ein Feste Burg ist unser Gott BWV 80: Recitative (Bass): “Erwäge doch, Kind Gottes”
01:44
04.
Ein Feste Burg ist unser Gott BWV 80: Aria (Soprano): “Komm in mein Herzenshaus”
02:45
05.
Ein Feste Burg ist unser Gott BWV 80: Chorale (T, B): “Und wenn die Welt voll Teufel wär”
03:17
06.
Ein Feste Burg ist unser Gott BWV 80: Recitative (Tenor): “So stehe dann bei Christi blutgefärbten Fahne
01:15
07.
Ein Feste Burg ist unser Gott BWV 80: Aria (Duet: Alto, Tenor): “Wie selig sind doch die, die Gott im Munde tragen”
03:30
08.
Ein Feste Burg ist unser Gott BWV 80: Chorale: “Das Wort, sie sollen lassen stahn”
01:06
09.
Missa in G, BWV 236: Kyrie Chorus
02:23
10.
Missa in G, BWV 236: Gloria Chorus
04:59
11.
Missa in G, BWV 236: Gratias agimus tibi Bass
04:54
12.
Missa in G, BWV 236: Domine Deus Soprano, Alto
03:36
13.
Missa in G, BWV 236: Quoniam tu solus sanctus Tenor
04:53
14.
Missa in G, BWV 236: Cum Sancto Spiritu Chorus
03:43
15.
Freue dich, erlöste Schar BWV 30: Chorus: “Freue dich, erlöste Schar”
03:40
16.
Freue dich, erlöste Schar BWV 30: Recitative (Bass): “Wir haben Rast, und des Gesetzes Last”
00:45
17.
Freue dich, erlöste Schar BWV 30: Aria (Bass): “Gelobet sei Gott, gelobet sein Namen”
04:37
18.
Freue dich, erlöste Schar BWV 30: Recitative (Alto): “Der Herold kömmt und meldt den König an
00:33
19.
Freue dich, erlöste Schar BWV 30: Aria (Alto): “Kommt, ihr angefochtnen Sünder”
04:32
20.
Freue dich, erlöste Schar BWV 30: Chorale: “Eine Stimme läßt sich hören”
01:04
21.
Freue dich, erlöste Schar BWV 30: Recitative (Bass): “So bist du denn, mein Heil, bedacht”
00:56
22.
Freue dich, erlöste Schar BWV 30: Aria (Bass): “Ich will nun hassen und alles lassen”
05:26
23.
Freue dich, erlöste Schar BWV 30: Recitative (Soprano): “Und ob wohl sonst der Unbestand”
00:52
24.
Freue dich, erlöste Schar BWV 30: Aria (Soprano): “Eilt, ihr Stunden, kommt herbei”
04:07
25.
Freue dich, erlöste Schar BWV 30: Recitative (Tenor): “Geduld”
01:05
26.
Freue dich, erlöste Schar BWV 30: Chorus: “Freue dich, geheilgte Schar”
03:36

Disc #2
01.
Missa in F, BWV 233: Kyrie Chorus
03:08
02.
Missa in F, BWV 233: Gloria Chorus
05:24
03.
Missa in F, BWV 233: Domine Deus Bass
03:23
04.
Missa in F, BWV 233: Qui tollis peccata mundi Soprano
05:13
05.
Missa in F, BWV 233: Quoniam tu solus sanctus Alto
03:41
06.
Missa in F, BWV 233: Cum Sancto Spiritu Chorus
02:33
07.
Missa in A, BWV 234: Kyrie Chorus
06:16
08.
Missa in A, BWV 234: Gloria Chorus
05:14
09.
Missa in A, BWV 234: Domine Deus Bass
05:30
10.
Missa in A, BWV 234: Qui tollis peccata mundi Soprano
06:45
11.
Missa in A, BWV 234: Quoniam tu solus sanctus Alto
03:18
12.
Missa in A, BWV 234: Cum Sancto Spiritu Chorus
03:30
13.
Gaudete omnes populi: Chorus: Gaudete omnes populi
05:00
14.
Gaudete omnes populi: Chorale: Manebit verbum Domini
03:40

Disc #3
01.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Chorus: “Angenehmes Wiederau, freue dich in deinen Auen”
03:33
02.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Recitative (Bass, S, A, T): “So ziehen wir in diesem Hause”
00:55
03.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Aria (Bass): “Willkommen im Heil, willkommen in Freuden”
04:40
04.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Recitative (Alto): “Da heute dir, gepriesner Hennikke”
00:35
05.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Aria (Alto): “Was die Seele kann ergötzen
04:28
06.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Recitative (Bass): “Und wie ich jederzeit bedacht”
00:35
07.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Aria (Bass): “Ich will dich halten und mit dir walten”
05:28
08.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Recitative (Soprano): “Und obwohl sonst der Unbestand”
00:50
09.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Aria (Soprano): “Eilt, ihr Stunden, wie ihr wollt”
04:04
10.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Recitative (Tenor): “So recht! Ihr seid mir werte Gäste”
00:41
11.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Aria (Tenor): “So wie ich die Tropfen zolle”
02:28
12.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Recitative (S, A, B): “Drum, angenehmes Wiederau”
01:06
13.
Angenehmes Wiederau, freue dich in deinen Auen BWV 30a: Chorus: “Angenehmes Wiederau, prange nun in deinen Auen!”
03:40
14.
Missa in g, BWV 235: Kyrie Chorus
06:42
15.
Missa in g, BWV 235: Gloria Chorus
03:16
16.
Missa in g, BWV 235: Gratias agimus tibi Bass
02:48
17.
Missa in g, BWV 235: Domine Fili unigenite Alto
05:02
18.
Missa in g, BWV 235: Qui tollis peccata mundi Tenor
03:44
19.
Missa in g, BWV 235: Cum Sancto Spiritu Chorus
04:31
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